Nice, big, fat shout-out to Paper Mill Playhouse Saturday night during the Channel 13 screening of the 1951 version of “Show Boat” as part of its weekly Reel 13 classic movie feature.
At the end of “Show Boat” Prof. Richard Peña, currently the director of programming at the Film Society of Lincoln Center, talked about all the changes made to musical over the years including downplaying the African-American characters, changing offensive lyrics, eliminating songs.
He noted that a live performance by the Paper Mill Playhouse was videotaped for television and shown on Great Performances on PBS contains more of the songs (and fewer cuts) than any of the film versions. It also restored not only the original book of the 1927 Jerome Kern-Oscar Hammerstein but other songs and dance numbers thrown away over the years, he said.
“Let’s just cut to the chase. Nat Zegree practically steals the show at Paper Mill Playhouse playing the brash — let’s make that audacious — Jerry Lee Lewis in “Million Dollar Quartet.” He ought to know what he’s doing by now as it’s the fifth time he’s played that part in the many productions of this jukebox musical about an unplanned event some say is a seminal moment in rock ‘n’ roll history.
The 2 1/2 musical features more than 20 classic hits including “Blue Suede Shoes,” “Folsom Prison Blues,” “Memories Are Made of This,” “Sixteen Tons,” “Great Balls of Fire,” “Hound Dog,” “(Ghost Riders in the Sky” and “Whole Lotta Shakin’ Goin’ On.”
This will be short and sweet and fun, if you are a fan of musicals — movie musicals, that is, especially “La La Land.” Sara Preciado of the /Film blog definitely knows her MM stuff. She posted a short video on Vimeo that took a lot of time, pointing out “La La Land” movie references .
“You could make a killing, but not a living, in the theater,” said playwright Robert Anderson in a 1966 Christian Science Monitor interview about “Tea and Sympathy,” his successful first Broadway play that was turned into a movie. Anderson couldn’t recreate that same success on stage and turned to teaching and writing Hollywood screenplays.
About 75 percent of Broadway shows — musicals and plays — don’t recoup their investment let alone make money for investors. In NY state there is a strict legal formula concerning who gets paid first (Hint: It’s not Max Bialystock). But that’s not what we’re talking about now. Lucky investors of the original production of “Jersey Boys,” the 12th longest running show on Broadway that grossed more than $2 billion worldwide, told the NYTimes in an article published today (1/15/17), they made back about 22 percent on their original investments.
“The Bodyguard” begins with a bang — a gun shot, actually — that made every single theatergoer in the 1,200-seat Paper Mill Playhouse jump. It ends with pop music star Rachel Madden, elevated above the audience — alone in the spotlight.
First produced in London in 2012 and recently revived, the American production ends its 5-week U.S. debut this weekend and continues its national tour Jan. 10-15 at the Orpheum Theatre in Minneapolis, the second site for the 20 American cities tour. More dates are expected to be announced. Most of the tour consists of 5-day stints, but several cities are booked for two- to three-week sit downs, including Chicago, Los Angeles and Costa Mesa. (Complete schedule below)
It’s the slickest production I’ve ever seen at the Millburn, NJ, a nonprofit venue that has become a launch pad for Broadway musicals recently, including “Newsies,” “Honeymoon in Vegas,” and earlier this month “A Bronx Tale.” “Bandstand,” which premiered there in 2015 is scheduled to make its Broadway debut April 2017.
From left, Ilda Mason (Estella), Lauren Csete (Consuelo), Natalie Cortez (Anita), Lisa Finegold (Francisca) and Alexia Sky (Teresita) in “West Side Story” at Paper Mill Playhouse. Photo by Matthew Murphy.
A scene from the dance in the gym in “West Side Story” at Paper Mill Playhouse. Photo by Matthew Murphy.
The Jets and the Sharks in “West Side Story at “West Side Story” at Paper Mill Playhouse. Photo by Matthew Murphy
Matt Doyle (Tony) and Belinda Allyn (Maria) in the bridal shop of “West Side Story.” Photo by Jerry Dalia
From left, Danny Bevins (Pepe), German Alexander (Bernardo) and Dean Andre de Luna (Chino) in “West Side Story” at Paper Mill Playhouse. Photo by Jerry Dalia.
Matt Doyle (Tony) and Belinda Allyn (Maria). Photo by Jerry Dalia
Mikey Winslow (Riff), center, and the Jets in “West Side Story” at Paper Mill Playhouse. Photo by Jerry Dalia
Matt Doyle as Tony (center) and the company of “West Side Story” West Side Story at Paper Mill Playhouse. Photo by Matthew Murphy
The only thing wrong with “West Side Story” at Paper Mill Playhouse is that it ends on June 26. It’s the first time its been done here in 25 years so grab it while you can.
Helmed by Producing Artistic Director Mark Hoebee, the timing couldn’t be better for the theater (just finishing its 78 season) that recently was awarded the Regional Theatre Tony award. It also sent both “Newsies” and “Honeymoon in Vegas” to Broadway and will host the American premiere of “Bodyguard” next season. It’s firing on all cylinders with no end in sight.
Lin-Manuel Miranda won’t be on stage in the title role of “Hamilton” when President Obama and his daughters attend today’s matinée of the red-hot Broadway musical. But he won’t be far.
Miranda, who also wrote and directed the show, now in previews, will be sitting in the audience evaluating it. Kinda hard to see how the show’s doing when you’re always on stage. He scheduled three such dates in advance before the Aug. 6 opening and today’s matinée is one of them, confirmed the show’s press representative Sam Rudy, according to the NYTimes.
I love musicals. I love “Downton Abbey.” But a musical of this hit British TV series about a snooty English Earl and his family … It seems, though, we’re not talking traditional stage musical and the show’s creator Julian Fellowes is involved so maybe this isn’t a train wreck waiting to happen.
That’s what various news outlets are reporting. Playbill.com, referring to an article in The Independent of London, says the show that focuses on the Crawley before, during and following World War I is being adapted as a stage musical that would go on a global theatrical tour.